“ ... Modeste’s play was given yesterday.[186] It was a complete failure, which does not surprise me in the least, for it is much too subtle for the public at the Alexander Theatre. It does not matter: may it be a lesson to Modeste. The pursuit of the unattainable hinders him from his real business—to write plays in the accepted form. The rehearsals for Iolanthe and the Ballet are endlessly dragged out. The Emperor will be present on the 5th, and the first public performance will take place the following day.”
During this visit to the capital Tchaikovsky did his utmost to forward the interests of his friends, Taneiev and Arensky, as will be seen from the following extract from a letter to the former, respecting the performance of his Orestes:—
“Vsievolojsky (Director of the Opera) took Napravnik aside and consulted him as to the advisability of proposing Orestes to the Emperor for next season.... I suggested that you should be sent for, in order to play over the work in their presence. Vsievolojsky was afraid if you were put to this trouble you might feel hurt should the matter fall through. I ventured to say that, as a true philosopher, you would not lose heart if nothing came of it.... I spoke not less eloquently of Arensky, but so far without success.”
On December 5th (17th) Iolanthe and the Nut-cracker Ballet were given in the presence of the Imperial Court. The opera was conducted by Napravnik. The Figners distinguished themselves by their admirable interpretations of the parts of Vaudemont and Iolanthe. The scenery and costumes were beautiful. Nevertheless the work was only accorded a succès d’estime. The chief reason for this—according to Modeste Tchaikovsky—was the prolixity of the libretto and its lack of scenic interest.
The Ballet—admirably conducted by Drigo—was brilliantly staged, and received with considerable applause; yet the impression left by the first night was not wholly favourable. The subject, which differed greatly from the conventional ballet programme, was not entirely to blame. The illness of the talented ballet-master, Petipa, and the substitution of a man of far less skill and imagination, probably accounted for the comparative failure of the work. The delicate beauty of the music did not appeal to the public on a first hearing, and some time elapsed before the Nut-cracker became a favourite item in the repertory.
The attitude of the Press appears from the following letter from the composer to Anatol, dated Petersburg, December 10th (22nd), 1892:—
“This is the fourth day on which all the papers have been cutting up both my latest creations.... It is not the first time. The abuse does not annoy me in the least, and yet—as always under these circumstances—I am in a hateful frame of mind. When one has lived in expectation of an important event, as soon as it is over there comes a kind of apathy and disinclination for work, while the emptiness and futility of all our efforts becomes so evident.... The day after to-morrow I leave for Berlin. There I shall decide where to go for a rest (most probably to Nice). On December 29th I shall be in Brussels. From thence I shall go to Paris, and afterwards to see Mlle. Fanny at Montbeillard. About the 10th January I have to conduct the concerts at Odessa. At the end of the month I shall be in Petersburg. Later I shall spend some time in Klin, and go to you in Lent.”
To Vladimir Davidov.
“Berlin, December 16th (28th), 1892.
“Here I am, still in Berlin. To-day I have given myself up to serious reflections, which will have important results. I have been carefully, and as it were objectively, analysing my Symphony, which luckily I have not yet orchestrated and given to the world. The impression was not flattering: the work is written for the sake of writing, and is not interesting or moving. I ought to put it aside and forget it.... Am I done for and dried up? Perhaps there is yet some subject which could inspire me; but I ought to compose no more absolute music, symphony or chamber works. To live without work would weary me. What am I to do? Fold my hands as far as composition is concerned and try to forget it? It is difficult to decide. I think, and think, and do not know how to settle the question. In any case, the outlook has not been cheerful the last three days.”